Pavane (Fauré)

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küçükresim|1887'de Faure F# minör Pavane, 50, Fransız besteci tarafından 'de yazılmış kısa bir eserdir. Aslen bir piyano parçasıydı, ancak Fauré'nin orkestra ve isteğe bağlı koro versiyonunda daha iyi biliniyor. İlk kez 1888'de Paris'te seslendirildi ve bestecinin en popüler eserlerinden biri oldu. Geçmiş Eserin adı, aynı adı taşıyan yavaş alaylı İspanyol saray dansından sonra geliyor. Fauré'nin parçanın orijinal versiyonu 1880'lerin sonlarında piyano ve koro için yazılmıştır."Zarif, kesin ama özellikle önemli değil. Fauré composed the orchestral version at in the summer of 1887. He envisaged a purely orchestral composition, using modest forces, to be played at a series of light summer concerts conducted by . After Fauré opted to dedicate the work to his patron, , he felt compelled to stage a grander affair and at her recommendation he added an invisible chorus to accompany the orchestra (with additional allowance for dancers). The words were inconsequential verses, à la , on the romantic helplessness of man, written by the Countess's cousin, . Fauré wrote: [[Dosya:Tamara_Grigorieva,_Irina_Zarova,_Alberto_Alonso_(as_the_Dwarf_in_front),_Georges_Skibine_and_Nicolas_Ivangin_in_Pavane,_Original_Ballet_Russe_Australian_tour_(2)._(6174098860).jpg|bağlantı=https://en.wikipedia.org/wiki/File:Tamara_Grigorieva,_Irina_Zarova,_Alberto_Alonso_(as_the_Dwarf_in_front),_Georges_Skibine_and_Nicolas_Ivangin_in_Pavane,_Original_Ballet_Russe_Australian_tour_(2)._(6174098860).jpg|küçükresim|The presentation of Las Meninas, danced to Fauré's Pavane]] The orchestral version was first performed at a under the baton of on 25 November 1888. Three days later, the choral version was premiered at a concert of the . In 1891, the Countess finally helped Fauré produce the version with both dancers and chorus, in a "choreographic spectacle" designed to grace one of her garden parties in the . From the outset, the Pavane has enjoyed immense popularity, whether with or without chorus. With choreography by a ballet version entered the repertoire of 's in 1917, alternatively billed as Las Meninas or Les Jardins d'Aranjuez, danced to music by not only Fauré but also and others. For Massine, Fauré's music had "haunting echoes of Spain's Golden Age" parallelling the formality and underlying sadness he found in the paintings of . Some critics found the ballet pallid, but Diaghilev retained a fondness for the piece, and kept it in the company's repertoire until the end of his life. Fauré's example was imitated by his juniors, who went on to write pavanes of their own: 's Passepied in his ' and 's ', and "Pavane de la belle au bois dormant" in . Müzik bağlantı=https://en.wikipedia.org/wiki/File:Orchesterwerke_Romantik_Themen.pdf?page=232|sağ|sayfa=232|küçükresim|Opening bars The work is scored for modest orchestral forces consisting of and one pair each of , , , , and . The Fauré scholar writes that the Pavane has become one of the composer's best-known pieces, and "there will be few to deny that it is one of the most attractive of his lesser works: the flute theme, once heard, is not easily forgotten". In a 1979 study, describes the scoring of the Pavane as "delicate and airy, with some practical and inspired woodwind writing and a variety of string textures..." He adds that the strings sometimes double the viola part on either second violins or cellos, "perhaps for safety's sake". After the opening flute theme, there is a more dramatic central section, comprising a series of four-bar sequences over bass pedals which descend whole tones – a favourite device of Fauré's. There are small and barely perceptible changes to the main theme during the work and reharmonisations that Orledge calls "a miracle of Fauréan ingenuity". Performance timings vary considerably. These recordings made between 1953 and 2014 have playing times from under five minutes to nearly seven: Fauré intended the piece to be played more briskly than it is sometimes performed in its more familiar orchestral guise. The conductor heard Fauré play the piano version several times and noted that he took it at a tempo no slower than 100 . Boult commented that the composer's sprightly tempo emphasised that the Pavane was not a piece of German romanticism, and that the text later added was "clearly a piece of light-hearted chaffing between the dancers". Notlar Kaynakça Dış bağlantılar Free scores of this work in the An ASCII-based text and translation of the Pavane from The Lied and Art Songs Text Page Kategori:F-Sharp minör kompozisyonlar Kategori:1887 kompozisyonları Kategori:Koro kompozisyonları Kategori:Gabriel Fauré'nin kompozisyonları